Liontamer

There will not be any errors, because I am perfect! In any case, it seems like a headache, BUT I'll think about it.

Well, the BPM results are certainly informative, but based on what I've seen and staff feedback, we're not going to go whole hog and include BPM data in the MP3s. If we knew it was 99% accurate, we would. But what I've found from running BPM Analyzer can be useful for the genre/moods/instrumentation tagging system in the database as far as broadly hitting what are uptempo or downtempo mixes.

Running everything through BPM Analyzer today to see if I can get a complete BPM list for all of the ReMixes. http://download.cnet.com/MixMeister-BPM-Analyzer/3000-2169_4-10290906.html From what I can tell, the prog is generally accurate, but it has its flaws as far as determining BPM, like giving slow songs a fast #, when it should halve the #. Anyway, giving it a whirl to see how it is. I may even make a Google Doc spreadsheet to share and troubleshoot with.

Thanks for bringing that up. Neither djp or I could find where it says / is an ID3 standard for separating artists. Either way Windows Media Player is a poor program for sorting music in the first place (it isn't even intuitive how to show disc #), so it's at least OK if we don't cater to that standard. Same with RealPlayer as Brad referenced. All of that aside, / just isn't in common or trending enough usage to bother using it. It's the same reason we don't use OGG. OGG is good, but doesn't have enough support. If anything else comes up that would in fact be successful addressing this issue, definitely let us know. JUST FYI, I've basically looked at iTunes/iPod and Winamp as the two standard MP3 players. If there's any other broad-use robust MP3 player I should look at, lemme know.

I did have fun seeing those typos, but hopefully they'll get fixed soon. I had fun replying to a hater just now. Apparently all the music you guys are making is crap, and you're just adding drums. I wish I'd taken all that into account before YESing those all of those mixes! Lockdown 3, it's coming!

This was a criticism that I thought was pulled back from what it should have been. The piano sound was MIDI-riffic and stilted to the point where it should not have been approved. I've heard Bladiator present much, much better execution with this same type of palette, and this just doesn't present anything arrangement or performance wise that overcomes such weak sound quality. I hate to sound like I'm shitting on the whole package, because that's clearly not the case, and again, there's no doubt we've passed many mixes with flaws. Nonetheless, the request should have made to have this resampled before it was posted. The sound's not up to par compared with other mixes that have had weaker samples. NO (refine/resubmit)

Just listening to this as I was going through approvals and was surprised this passed given the production. The recording sounded distant AND significantly lossy. Distant is fine, but the lossyness really hurt this and made it sound like there was no warmth. I also thought the left hand sounded rigid in a few spots. The performance should have been tighter, but nothing sounded egregious as much as somewhat lacking in flow. Once things picked up at 3:00, the performance totally clicked, which was great to hear. Once things got a bit more delicate at 3:42, those slight timing issues were back; again, nothing terrible, but sometimes sluggish enough to break the implied flow/tempo of the piece. Overall, I thought this was borderline. If the performance was tight OR the recording was pristine, I could get behind this as something with a lopsided strength, because we've certainly passed other mixes like that. But I though this was just under the bar, mainly because of the very lossy production. I realize one could argue that the overall mood behind the song somehow justifies the lossiness of the sound, but I think the negatives of the production go beyond that. Could we please get a WAV of this and have someone remaster this? I think this song would be all the better for it. Let's try that before posting it, because I'd like to see this posted in some form, just not as it sounds right now. NO (borderline)

Nice work! Brandon in particular really showed a lot of growth as an artist on this, really putting together some polished tracks. And original composer props, FTW.

lol get it ducks. Dave wanted me to submit this so here you go, dunno why I didn't submit it like 3 years ago when I made it?!?! hope you like it brosefs ---------------------------------------------------------------- - "Olein Cavern"I thought the drums from :21 were pretty weak. The snare wasn't awful quality, but the drum writing was too plodding and wasn't the right fit. Thank God they dropped at 1:23 and you started getting more creative with the Eastern writing. Then as soon as I typed that, the drums came back at 1:39 for basically the rest of the track. Even listening to the original, which has a core beat, the drum-style sound used for it alternated between a louder, shorter hit and a longer, softer hit. This doesn't even have that. Texturally, this was pretty basic, and I thought the boring snare and plain-jane synths didn't add up to a solid, cohesive sound. Even though this is an older track, if you were still willing to come back to it and add a bit more substance to it, I'd love to hear it. But as is, it's just not developed enough or locking together enough. This is a solid base though. NO (resubmit)

Thanks for the thorough explanation & details, J. Hopefully that's what'll help him get his files in order. That said, our fans seriously do not need to be engaging in this much work to have our files make sense, so I can't WAIT to have these fixed files released. My updated files are 1 album, 1985 tracks in my iTunes. I'll have to host some for people to look over once again so I can make sure all bases are covered, but they're basically as good as they're going to be.

I don't quite understand what you wrote. How about posting some screenshots to better illustrate the problems?

Sup with this?

Hahahaha! Nice. What a subtle shot!

And the original composer...is...FEELIN' it! http://twitter.com/SotaFujimori/status/5255469568360448 Fujimori-san wanted more info, so I gave him some quick help. Really glad he liked Amy's mix enough to ask the masses to help him find out more! Nice work!

I thought the sounds were fine and I didn't think they were too close to the original. Shariq's POV wasn't invalid; there were certainly moments that were close to the mood & feel of the original, but enough of the arrangement had a different enough sound for me to be OK with it. This had a Genesis/Sonic 3 deal going on with the lead at :34, which was cool. As for the brief talking underneath, that wasn't an issue. The production was generally solid. I thought 1:09-1:35's section was an area where more of a build or energy increase would have worked nicely. I see the mood you're going for, but overall, the dynamic curve felt too flat. I'm not saying get crazy with 2000% more grace notes and loud shit, but this needs something extra. I also felt the transition at 2:04 was pretty uninspired as well; the change-up with the sources didn't flow at all, so the higher pitched arrangement of the 2nd source sounded out of place with everything that came before it. Sounds like a WIP that's mostly there, but isn't quite ready. Hate to do this to ya, as you are a 9-bit superstar, but I think this is only 80-85% there. Some quick tweak and this'll posted with no problem. That said, good luck with the rest of the vote. NO

True. I'm not used to using iTunes for natch tagging since I don't normally use it and MP3tag is just a much better tagging program (being that tagging is its sole function). I highly recommend everyone download MP3tag. It'll already be done in the new torrent, so you won't actually need to do anything. Excitement!

Tyler...you're my hero. I'll totally check your lyrics out later to see if everything's kosher. If you (or any fellow Spanish speakers) would be willing to take another look and just make sure accents, punctuation and all that are totally proper, I'll definitely add in both sets of lyrics. Especially given that Sinergia aren't community regulars and it's been a long time since anyone took a stab at it, I was worried I wouldn't have something for that mix. So on behalf of OC ReMix, THANK YOU!

2 of the 3 you linked were already in the first post. A year ago. Kingdom Hearts, I'll have to just listen for any changes from the lyrics of the originals. For Thieves of Fate's tracks, we'll have to ask prophetik.

Thanks for clarifying, y'all. Well, as far as my project for re-tagging every individual ReMix for re-release, we won't need compilation checked in iTunes, because everything already will have OverClocked ReMix as the album artist. Thus everything should be grouped. I've actually been tagging the Album Artist field for recent ReMixes. Try any of the last hundred ReMixes in iTunes and that field should be filled out. Ryan, to answer your question, you could have downloaded MP3tag and batch tagged every mix with "OverClocked ReMix" as the album artist before dropping them into your iPod and you'd have been pretty much set. You wouldn't have needed to use the compilation field.

In a word, yes.

The intro sounded pretty awkward due to the notes from the plucked instrument. I thought the simple clap pattern didn't fill things out enough and had no synergy with the other instrumentation, so I was glad when it dropped out at 1:00. The quiet pizz strings at 1:00 sounded slightly behind the beat, but perhaps that's just me. The jerky, exposed string sequencing at 2:28 and 2:38 was painful to hear. The bowed strings during the verses were solid, but the articulations there also could have been refined. Not that the sequencing was terrible overall, but achieving more natural-sounding articulations for your organic instrument samples is something you need to work on. Aside from that, I thought the instrumentations and textures were solid, particularly the multiple cool percussion accents. Overall, Drew certainly gets the job done with this laid-back, very personalized interpretation. That said, this is a great start, and I hope we hear more from you stepping outside chiptune sounds, just to see where else that takes you. YES

Haha! Apple Lab.

Nothing but solid stuff here, even taking in mind the legit points on sequencing & panning brought up by the fellow Js. The fade at the very end cut off a little early instead of totally fading to 0, but that was also very minor. A great addition to The Root of All Evil, and hopefully an indication that Brandon's internalizing the level of source usage & interpretation needed to get a sub passed. Very relaxing. Put it on for your lady. Don't tell her what the title is. YES

Still waiting for answers to my previous questions. Can anyone answer them?

OK, I'm going to be that guy who disrupts things way after the fact, but after listening to this again with Vig's vote in mind, I really oughta revise my vote to a NO. Sorry, Josh, but I feel my original vote was way too lenient, and geared more towards the arrangement at the expense of the production. There's still a lot of good-sounding elements, yet while I didn't agree with Vig in full (I disagreed with this being a "standard dance adaptation"), the following really stuck out: From a sonic standpoint, indeed, there were just too many sections with average production & textures that didn't fully lock together. For every portion where something clicked, the next section would lack cohesion. When you treated the source conservatively and just gave it your personal sound, it actually managed to click better than when you got more interpretive. :00-:26 - Very generic sounding breakbeats & synths. :26-:39 - Better stuff with the piano coming in, even if the synths were a bit generic & grating :39-:52 - Really generic saw for the melodic lead; the melodic variation compared to the original was OK, though it sounded like altering the melody for the sake of it not sounding like a complete copy, rather than sounding like a cool melodic variation. :52-1:18 - Much cooler lead. The textures really clicked nicely here. The breaks were a little vanilla, BUT everything was mixed so nicely that the breaks and bass provided a really nice background role, locking things together without exposing the sounds. You had those same strengths from with a different (but also good) lead sound from 3:30-4:09 to finish the track. 1:18-1:44 - The boom-tss added here briefly seemed stapled on top, but as things moved forward, that too settled in nicely and enhanced the sound. 1:44-2:10 - The piano writing was somewhat meandering. And the saw with the melodic variation for the sake of variation, both seemed awkwardly written. Neither part was particularly melodious or posessing direction. 2:10-2:49 - The BOOM at 2:23 was pretty cheesy, but not a huge deal. The more conservative melodious take on the source there until 2:49 ended up sounding the best. After that, many of the past ideas and textures repeated, so that basically covers it. Ultimately, taking a harder look at this and having another good POV made this difficult to sign off on taking another look at it. Sorry, bro, but if my opinion changes with more information and better insight, I've gotta call it fairly and honestly. NO